Traverse is a lo-fi tape effect and stereo delay in one plugin. On the tape side, a hysteresis-modeled tape engine is used, with Drive, Wow, Flutter modes and a tone control with a slanted EQ. The delay does the same things as delays – time, feedback, width, sync, ping-pong. The routing switch after the delay allows you to change their order, so you can use it as a tape-flavored delay or a cassette effect with built-in delay.
A cassette drive with magnetic hysteresis tape —a state of nonlinear hysteresis equations wrapped between pre-emphasis and de-emphasis filters, with oversampling at saturation. Uh. In English, it sounds like a cassette tape recorder. Internal gain compensation maintains a stable output level throughout the entire Drive Sweep.
Drive – Moving from clean, new tape to fully laid tape, removing iron oxide. The hysteresis curve responds to signal history, which distinguishes it from a static saturation curve.
Wow and Flutter are two independent depth controls for a slow drift (Wow) and a faster modulation jet (Flutter), each driven by its own LFO with a noise component. Channel modulation imparts a natural tape wave to the stereo image.
Tone is a bipolar sloping equalizer located within the tape’s signal flow. Darker on the left, brighter on the right, flat in the center. One knob functions as separate high and low shelves.
A tape emulator inside a feedback loop —each repetition is processed through Drive, Tone, Wow, and Flutter. Push feedback—and the repetitions turn into a self-saturating solution; pull it back for two or three colored echoes.
Time – stereo delay time from 20 ms to 10 seconds in free mode, or abruptly converted to beats at the owner’s tempo (straight and triplet, 1/32 through two whole notes) when sync is enabled.
Feedback is the amount of recirculation limited by the ceiling, so the cycle cannot be exhausted even at maximum Drive mode.
Width is a continuous ping-pong control. Positive values send the first echo to the right and cross-transmit the channels.
The Splice system is a procedural tape splicing simulator with four interacting controls. Time determines the frequency of events (from 0.5 seconds to a minute between events, with the knobs locked at the fast end where it matters). Depth determines the size.
Pitch and Amp switches the pitch-chirp and amplitude-dip components in each dropout, so you can tune everything from clean coil to worn shoebox tape.
The curated noise generator features nine procedural noise voices: Hiss, Crackling, Dust, Fan Hum, 60Hz Hum, 50Hz Hum, White, Pink, and California Card Reader. Select a voice, set its quantity, and the noise is sent directly to the tape path, where it is shaped with each repeat, just like the input signal.
Gate Noise – When enabled, the noise level drops 20 dB below the Noise setting when the input is silent, so the room tone only speaks when the track speaks and fades out between phrases.
Post-Delay Routing Switch – Off (default) – Space-Echo model: tape first, then delay, with feedback throughout the entire tape chain. On reverses the order so that the tape only processes the delay tail, turning Traverse into a more traditional tape delay with a clean input path.
Mix — standard dry and wet mixing, fully wet by default, so the plugin is perceived as an effect from the moment it loads.
Click-free Bypass — a smooth 50ms crossfade for comparing live A/B and live performances.
